Since graduating from the Victorian College of the Arts in 1992, Olivia has worked as a lecturer, performer and choreographer. She has worked with dance companies 2 Dance Plus and Melbourne based Dance Works and with many Australian and international choreographers and directors. Olivia has received grants to create several works as an independent dance maker and has been commissioned to create works for Buzz Dance Theatre, STEPS Youth Dance Company, Link Dance Company, WAAPA, Deakin University and the Asia Young Choreographers’ Project. In 2003, Olivia received a Creative Development Fellowship from ArtsWA. Olivia worked as a lecturer in contemporary dance at Western Australian Academy of Performing Arts,from 1999 – 2006 and is currently working as a dance lecturer at Deakin University. In 2008 Olivia completed Honours (Dance) at Deakin University and following that embarked on a PhD, entitled From score to work? Making a group, improvising a dance, which was conferred on April 17, 2013. Olivia was a member of the Dancehouse Board of Directors from 2008 – 12 and currently work as the Program Producer at Dancehouse.
Articles in this issue explore ideas that relate to improvisation as it has been experienced in a practical, bodily way.
Marchant’s article Dance Improvisation: Why warm up at all? considers what takes place before improvising begins, while warming up. In Improcinemaniac, Reid describes her simultaneous practice of screendance and improvisation. Reid uses language that is deliberately poetic, and deconstructs and reassembles words in order to question or reconfigure meanings, particularly those of conventional dance language. Using improvisational play with light and lens is also described by Wilson who applies a deeply embodied approach, developed over years working as a dancer, to her visual art practice in experimental photography. Millard’s What’s the score? explores the use of scores or verbal propositions as supports for dance improvisation. In Gaps in the Body, Fraser writes of having arrived at an understanding of improvisation that, rather than being about moving, is about ‘attention’. McLeod’s article, The Ethos of the Mover/Witness Dyad, describes the response of an invited public to a performative Authentic Movement event over three evenings.
Olivia Millard explores the use of scores or verbal propositions in improvising dance. Examining the use of scores in her improvisation practice, she discusses what scores might be and might do and how they relate to the real time composition of dance in the present of its making. To help explore these ideas I refer to the theory of Nelson Goodman and discuss the use of scores by other dance practitioners including Steve Paxton, Yvonne Meier and Anna Halprin.
Olivia Millard discusses a practice-based research project whereby six individual dancers came to ‘belong’, stylistically, to a group in a project that did not aim explicitly to create or bring about that sense of belonging.